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The Rose Priory Dialogues by Allan Armstrong | NOOK Book (eBook) | Barnes & Noble®

I want to suggest a new interpretation of this. The Sun-god Apollo repeated this at Delphi, according to legend, slaying the serpent Typhon. Whether or not this is correct, there can be little doubt that a man standing due south holding a plumb bob was engaged in plotting out the North-South line, the Meridian, to align the temple. So the solar connections give us, through Masonic tradition, connections between the Temple of Solomon and both the hexagram and the meridian. One might even imagine the "Sol-" of "Solomon" pertaining to the Sun, if he wasn't a Semitic figure.

Besides, the Sinclairs testified against the Templars, so I'd be more inclined to look to royalist roots, given the general flow of things. There was a temptation to engage in wild speculation without much actual fact to go on. History spread before me a tangled web of names and dates, and then I realised, or remembered, that Reason alone wouldn't get me where I wanted to go.

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It was time to move to that fourth zone, that of intellectus divines as the Florentine NeoPlatonists called it, and to perceive the whole with the "incorporeal eye" as a "supercelestial idea" rather than just some unsolved historical puzzle. To put it another way, the value in all this, it seems to me, is in the basic establishment of a harmonious geometric plan as the foundation for a nation.

It uplifts the sense of place, infusing the idea of a nation with a certain essence of harmony and order. But my Reason still had a question or two it wanted answered. Is it feasible from the technical point of view that as early as Europeans were not only plotting out straight north-south meridian lines, but that they were also able to measure latitude so as to divide these lines up into ratios and regular divisions?

I soon discovered that not only was the technology available then, but in fact it had been for some time.

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Unlike a geocentric Universe, a flat Earth was never, in fact, a Christian dogma. Although there were one or two Christian writers that didn't believe in the globe, Classical Antiquity did in fact bequeath this knowledge to the Dark Ages of early Christianity. The Greeks had worked out that we live on a globe, and from at least the time of Eratosthenes around BC even the rough size was known from calculations based on shadow lengths at different latitudes in southern and northern Egypt.

Phineas, a philosopher resident in the Greek colony of Marseilles in the South of France, travelled up from there through the British Isles taking latitude measurements along the way, and the figures quoted show he went to the north of Scotland. In the second century BC the Greek philosopher Hipparchus had been working with a system where the Earth was divided up into lines of longitude and latitude; by Claudius Ptolemy's time longitude was measured with respect to a Zero Meridian through the Canary Islands a line running due North-South , and Ptolemy had even used projection formulas to transfer the map from the curved surface of the globe to a flat representation.

No-one seemed to be writing about longitude or latitude during the Dark Ages, but by the turn of the eighth century the Venerable Bede certainly had no doubts that the Earth was spherical. Then by Chaucer's time in the Early Renaissance in the 14 th century the ancient method for calculating latitude by use of an astrolabe to guage solar or stellar inclination angles was certainly known, for Chaucer actually wrote a poem about it.

This is knowledge that allows one not only to plot out a north-south meridian line, but also to divide it up into particular ratios, based on relative latitudes. It was a chancellor of Chartres Cathedral in France, Fulbert, who was, according to historian George Henderson in his book Chartres , the first man in Europe known to have used the astrolabe, an instrument that finds positions and altitudes of the stars, which he did from the top of one of the towers of the cathedral.

Fulbert's period was in the early eleventh century. Chartres' statues include seven women representing the Liberal Arts and for each art there is also a statue of an ancient expert in that field, including one of Ptolemy, and since they were reading Ptolemy they must have come across the notion of longitude measured from a meridian. In the late Dark Ages the classical writers were still being studied at the School of Chartres, in Northern France, around the time that Hugh Capet made Paris, formally a Roman city, the capital of France.

Plato must have been read at Chartres and elsewhere long before the Renaissance, for Bernard, a head of the Chartres school at one time, was described by a contemporary as the greatest Platonist of his time. But Paris had been a regional capital even before that, established by the Merovingian kings. Can it have been coincidence that this site is effectively due north of the site where the Visigoths had established their capital, at the Roman site of Rhedae, now known as Rennes-le-Chateaux and where the Merovingian king Dagobert II ruled for a time once married to the daughter of the Visigoth king?

Paris too had once been a Roman city. These Merovingian kings were well lettered and even before their Christian conversion had been Rome-friendly to the extent of building amphitheatres as the Romans had done.

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Much of the heritage of Classical Antiquity was there for the reading, and these founders of Paris were not the simple barbarians some have imagined them to be. In summary then, the technical aspects of the geodetic plan were well within the capabilities of the scholars of the Renaissance of the 's.

But there is a further question that cannot really be avoided, even if we have decided to view this business from the level of the divine intellect with the Eye of the Mind.

Oblivion:Brother Martin

The thing is, the Paris Meridian is not supposed to have existed before the latter half of the 's. The story of the north-south line that forms the French Zero Meridian, from the official historical point of view, is that during the reign of Louis XIV, the Sun King, the masterminds behind the French throne decided they wanted France to be properly mapped so that the country could be developed, with roads and bridges and canals and so on, according to a cartographic master plan. The Paris observatory, so the history goes, was built just outside Paris, and from here the French Zero Meridian was laid out, upon which the subsequent surveys — the first proper scientific cartographic surveys in the world in the modern sense — were based.

The French meridian goes, of course, through the capital city of Paris, and it also runs down through the city of Bourges that has long been held to be the centre of France, as well as through Amiens half way between Paris and the effective north point on the coast. Bourges and Amiens, like Paris, have great gothic cathedrals.

Bourges has an even older history of being an important spot, for it was Roman Avaricum, the capital of Aquitaine, and even before that, way back in the 7th century B. There is a gold line that has been inserted in the floor of the cathedral of Bourges to show exactly where the Meridian runs. Are we expected to believe that it is a coincidence that the line not only takes in the Visigoth capital at the previously Roman site of Rhedae in the South, and the Merovingian capital at the previously Roman site of Paris in the North, but also runs directly through this awesome Gothic cathedral built long before the Sun King's time, i.

It is linked to the meridian because of its involvement with the Rennes-le-Chateaux story.

The Rose Priory Dialogues

Whether or not they were the ancient society they claimed, and consensus opinion now is that they were not , the fact is that a great deal of effort was expended by a group calling themselves the Priory of Sion to connect the painting with a site near Rennes-le-Chateaux, at a site if not on then certainly very close to the Meridian. Their message was delivered through a series of 'leaked' documents, such as the now-famous Dossiers Secrets, which said that 'Poussin wished to declare the mystery [i. Et in Arcadia Ego is of course the inscription on the tomb in the Poussin painting, and it is thought to have been modelled on the inscription on the tomb of the shepherd Daphnis in the Virgil eclogue that I mentioned above And build a tomb, and on the tomb place, too, this verse: 'I, Daphnis amid the woods, known from here even to the stars.

Fair was my flock, but fairer I, their shepherd. In Renaissance constellation maps Hercules was shown as a bearded man and the adjacent Bootes was shown as a man with one foot resting on a rock, very much as with the two shepherds in front of the tomb. Remember that we have already noted that Daphnis in this poem ascends to the Portal of the Sky at the culmination point due south. Virgo is also adjacent to Bootes, on the other side from Hercules, and so the most likely identity of the lady standing behind Bootes in Poussin's Shepherds of Arcadia II is Astraea, the golden mantle symbolising the Golden Age.

She is appropriately depicted surrounded by Arcadian Shepherds both because Bootes as Ikarios and Daphnis is indeed a herdsman and because the people of Arcadia and their culture were said by some, such as Pausanias, to be the oldest of people, older even than the Moon, which traces them back to the Golden Age. Thirdly, Virgil's IVth eclogue describes the return of the Golden Age with the birth of a divine child, and while the Golden Age necessarily means also the return of Justice, who had fled to the sky when it ended, by the High, or the latest the Late Renaissance, the bucolic life of Virgil's poetic shepherds was idealised because it has been shepherds who had been the first to hear, by the prophetic insight of the rustic bard, of the birth of the divine child Christ.

I am introducing this here as in a moment we shall be able to see that Astraea, i. What is certainly true is that Louis the Sun King himself took an extraordinary interest in this painting, going to extreme lengths to acquire it at enormous financial cost after he had confiscated letters written by his Superintendant of Finances which spoke of some great mystery of which its painter, Poussin, was aware.

The reason this is anomalous as regards the official history is that The Shepherds of Arcadia II was painted in the early half of the 's, while the official mapping out of the Paris Meridian occurred considerably later in that century, so if the mystery Poussin wished to declare related to the Meridian, something funny is going on. And did Paris just happen to be on a longitude line that extends from what had by then become the most northerly to the most southerly points of France, as the boundaries by this point had been fixed?

It seems quite possible that whilst the cartographic survey was carried out for the first time in this later period, the basic notion of the Paris Meridian was based on something with a somewhat longer history.

Ordre de la Rose-Croix Véritas O.D.L.R.C.V.

I also found it interesting that the Seal of Solomon pattern can indeed be related to the Rennes-le-Chateaux mystery in material preceding even Plantard's image of the sword along the French Meridian. In the bookplate designed by Sauniere, the priest who is said to have discovered the treasure and the secret parchments of Rennes-le-Chateaux, look carefully and you shall see the dot in the centre of the cross is in the Paris position , a direct reference that, it seems to me, cannot possibly be just coincidental, and the other dot in the middle of the centric circles is exactly in the equivalent Roslin location , i.

Reason demands that another question be answered: when did the map of France become hexagonal? Actually, analysis of the changing shape of the country over the years shows that from the Middle Ages up to the eve of the French Revolution the shape, rather like a snowflake forming, gradually became more and more hexagonal until she reached the shape she has today.

It was also upon the eve of the Revolution that the great cartographic survey of France begun in the Sun King's time was finally completed. Then when Napoleon came into power the borders suddenly expanded as a result of the conquests. However, after the defeat of Napoleon at Elba a group of European royals and their officials met in Vienna and, as well as taking in the odd Beethoven performance here and there, came up with new agreements about the European borders, and in the case of France this resulted in the shape of the nation reverting as if by elastic memory to a hexagon.

It was a royalist meeting that didn't have democratic aims high on its list, but it did result in about a hundred years of peace between European nations, quite a significant result.

Then there was that question of how the Louvre pyramids could be a key to all this, when they were built only recently. Plantard's map with Meridian blade and hexagram, and also Sauniere's bookplate, give evidence that this scheme was known by some in recent times, which also makes it possible that the builders of the pyramids did have this same scheme in mind.

In fact, the Louvre pyramid complex was commissioned by President Mitterand as part of his Grands Travaux or 'Great Works' programme, which also included the intriguing Monument to the Rights of Man and the Citizen. This monument includes, amongst other things, two bronze figures based on the shepherds in Poussin's painting , a shaft aligned to the Sun due south at the Summer Solstice, Masonic symbols and two obelisks. In light of this it would be difficult to claim that the Grands Travaux project including the Louvre pyramids lacked occult significance!

The Travaux project also includes the massive Grand Arch of the Defence in the shape of a giant cube. Details of these plans are given in the penultimate chapter of Talisman, the book of Bauval and Hancock. It seems that whether it was the king or the emperor of a republic — or indeed a 20th century president — was far less important than the real aim — to get a Paris pyramid erected here. This was partly because they believed that the Great Pyramid of Egypt stood on an Ancient Egyptian prime meridian that bisected the Nile Delta. So, for goodness sake, what is this business of the "blade" and the "chalice"?


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We've already seen that Plantard's map shows a sword stretched across the map over that Seal of Solomon pattern which has become associated with the Jerusalem Temple, while in the Bible a sword stretched across Jerusalem embodied the "wrath of god". Perhaps this is why the sword came to be associated with Justice, as personified by the goddess Astraea, for in the Renaissance Astraea was most often shown holding not only the scales in one hand, but also the sword in her other hand.

Justice is one of the Four Cardinal Virtues that were mentioned in works by Plato, and this theme was then taken up by Jewish, Christian, Medieval chivalric and Florentine NeoPlatonic traditions. Here at last is a level of research into this business that appeals both to my Reason, in that it sheds light on the origins of the concepts in this mystery within both Medieval and later Renaissance contexts, and appeals also to my Mind, my Mens , in the higher NeoPlatonic, 3 rd Eye sense.